Alice Vaughan is LA's top private investigator - and the one woman you don't want to mess with. But when her fiancé cons her out of millions and disappears, Alice goes on a private mission for payback.

Jeff Korbelik

[Enos is] kind of fun, especially when she’s matching wits with the veteran Krause. And Krause is perfect. He’s smooth, suave and charming. You’re rooting as much for him to elude Enos as you are for Enos to catch him. Let’s hope this chase lasts awhile.

Vicki Hyman

As someone who has grown exhausted by frenetic and increasingly absurd plotting of "Scandal" and "How To Get Away With Murder," I suspect "The Catch" will prove at least as durable simply because the stakes aren't as high here, and it doesn't take itself as seriously.

Mekeisha Madden Toby

What starts off as a lusty and dewy-eyed dance between lovers quickly turns into a taut game of cat and mouse more titillating than the pair’s pending nuptials. Enos and Krause have palpable chemistry.

Jeff Jensen

Amber Dowling

It’s heightened reality at its finest as Vaughan and her associates (Elvy Yost, Jay Hayden and Rollins) proceed to track down the con artists who hacked them and stop them before too much damage is done.

Brian Tallerico

Despite a few directorial errors--a stunning over-reliance on pop music, for example (please stop with the Pitbull), and a too-eager-to-please hyperactive editing style--there’s something engaging about The Catch. It’s largely due to the overwhelming charisma of its two leads, but there’s also just something witty about the set-up and the promise of a cat-and-mouse game in which the two roles are constantly being reversed.

Verne Gay

The Catch is about illusions, also about who’s real, or not. It’s about human mirages. Could Ben possibly be a genuine “catch,” or is he just another Shondaland heel in a bespoke suit? The answer is not so clear-cut, and it’s also what makes The Catch so possibly engaging.

Chuck Barney

The Catch contains all the ingredients we've come to expect from the folks at Shondaland: glossy production values, a diverse cast, hyper-articulate dialogue, hairpin plot twists and lots of eye candy and writhing hips. If you've been a fan, you'll surely want to take another ride on the roller coaster. If that stuff makes you want to spit at your TV, it's best that you keep your distance.

David Wiegand

Enos is terrific, managing the seeming impossible: to go from adoring fiancee to avenging private-eye angel in a flash. She’s well partnered with Krause, who is an entirely convincing liar when Ben and Alice are still together, and equally credible when his ruse is revealed. The show moves so fast, you may miss its logical flaw until after the episode ends.

Joshua Alston

Retooling usually ruins a show, but not so with The Catch, which works precisely because of Heinberg’s changes. Of Shonda Rhimes’ block of Thursday night dramas, The Catch most resembles Scandal, with a gorgeous, well-heeled squad of operators doing dirty work for powerful people.

Glenn Garvin

If you prefer your crime dramas from the To Catch a Thief corner of the genre, The Catch has much to recommend it, including clever plotting and an elegant, witty cast. Enos, a long way from the bipolar ragamuffin detective she played in The Killing, shows that she can rock an evening gown.

Mitchel Broussard

The Catch is sort of Shondaland’s roller-coaster in that sense--it moves so fast, gearing up and careening down, shooting left and right, and its effusive energy makes it easy to forgive the familiarity of some of its themes.

Rob Lowman

There are a few things The Catch will need to establish before taking off. For instance, it’s a bit hard to buy Alice’s and Ben’s instant attraction. But as light entertainment, the show flies by pretty quickly, a good fit for the #TGIT playground.

Mark A. Perigard

The Catch wants you to hope for the best, but he’s such a sociopath, it’s hard to root for their relationship to end anywhere but in a lifetime sentence behind bars. Still, Enos is terrific and makes this caper a fun ride toward righteous retribution.

Michael Slezak

Terry Terrones

In many regards, The Catch certainly achieves its goals, but when the lives of every person on-screen revolve around one character and viewers are left wondering how a private investigation firm can afford a huge futuristic office with an enormous staff, it takes away from some of the fantasy.

Ellen Gray

Fans of USA's White Collar might enjoy the cat-and-mouse game that ensues, though I'd argue that the relationship between its con artist, Neal Caffrey (Matt Bomer), and FBI agent Peter Burke (Tim DeKay) was (in a totally bro way) a more compelling romance than this one.... Krause, who looks the way he always does, even when his character's trying to look different, isn't all that convincing a con man, but maybe that's exactly what's required of a con man.

Neil Genzlinger

Forget the incongruity of the premise--we’re asked to believe that Alice and Valerie’s company is both the best private investigation firm around and the most incompetent--and instead just be dismayed at the prospect of having to spend more time with Alice and Ben. They, like everyone else in this series, have a “Stepford Wives” blandness to them.

Robert Bianco

Alice has been betrayed and bankrupted, but the character is given no time to let the emotional impact land because the show needs to get her into another fancy dress for some Mission: Impossible-type sting. An equally troubling issue, particularly for a show that clearly wants to plant its flag in the Shondaland "sexy" territory, is that the two stars generate precious little onscreen heat.

Hank Stuever

Brian Lowry

[The Catch] mostly just feels tired, like a TNT caper show that futilely seeks to derive energy from visual gimmicks, like split screens and slo-mo. Based strictly on the premiere, the show is hardly a disaster, but nor does it offer much incentive to see what maze-like corners this cat-and-mouse game will explore.

Sonia Saraiya

Scott D. Pierce

The most interesting thing about the premiere of The Catch is the camera-work and the editing--including some very clever split screens. But the characters ought to be the most interesting thing, and they're not.

David Sims

Allison Keene

The show’s cast is great, and they work hard to elevate subpar material. But whether the series can catch viewers with what has become an overused formula (and one that--as has happened with Grey’s Anatomy, Scandal, and How to Get Away with Murder--can flame out very quickly) remains to be seen.

Ken Tucker

[The Catch] is so aggressively Shonda-ed--with fast cutting, split-screening, long romantic looks, and pop music competing with the dialogue in an attempt to boost your energy to keep watching--that it very nearly plays like a parody of a Shonda Rhimes show.

Gail Pennington

Everything about The Catch is annoying, from the basic premise to the impossible twists to especially (somehow, especially) the insistent soundtrack that is supposed to whip us into a froth of excitement.

Daniel D'Addario

Enos is asked to sell a caper, but the inciting incident--her husband turns out to be a con artist who disappears, taking her money with him--is played less as melodrama than as farce.... The bigger issue is that Christopher Hall, played by Peter Krause, responds to pure goofiness as though he’s the tormented hero in the penultimate scene of a DC Comics film.